The multi-talented, multi-lingual and multi-award winning Enrique - who also enjoys a highly successful writing, record producing and acting career - as well as performing to an enormous fanbase worldwide - has sold over 100m albums and is dubbed 'King of Latin Pop' by Billboard. His meteoric international career kicked off in the mid-1990s after recording a demo tape as a supposedly unknown Guatemalan singer, not wanting to trade on the family name to get any breaks or opportunities
Adlib's history with Enrique is slightly more recent, dating back to the 2014 Capital FM Summertime Ball at Wembley Stadium in June. Adlib supplied audio for the event, and the singer was amongst the star-studded line up. Enrique's sound worldwide is co-ordinated by Mike Sprague of Sound Image from California, who Adlib are proud to have a close and proactive working relationship with.
Adlib's Alan Harrison had previously joined the team for selected dates on Enrique's summer European festival run looking after monitor engineer Eddie "El Brujo" Caipo Enrique's production team aim for a 'family' vibe on tour, so when it came to extending this for the full blown headlining European tour . . . Adlib was the perfect fit. Andres Restrepo is the friendly & unflappable production manager.
Adlib's crew consists of Marc Peers as crew boss and includes systems engineer and L-Acoustics aficionado and KSE, Tony Szabo. Richard Cook also joined Tony working as PA tech.
The L-Acoustics K1 / Kara system was specified by Enrique's FOH engineer Brad Divens and comprised of 14 x K1 speakers per side for the main arrays complete with four Kara downs, each supported by an array of six K1SB subs flown beside them.
L-Acoustics K2 was used for the side arrays, with 12 x K2s left-and-right, together with two hangs of 12 x Kara for upstage. Eight Kara were utilised for front-fills, positioned around the bespoke curved stage, which was one of the main set elements, together with a 56ft long, 8ft wide thrust from centre stage, going through the audience to FOH.
Eighteen SB28 subs were also strategically placed around the stage front, run in cardioid mode and in an L-C-R arrangement. The system ran all-digital with AES out of the Avid Profile FOH console chosen by Brad and into the Lake LM44 control rack - one of Adlib's standards. The FOH Avid Profile was running maximum DSP and 96 channels of stage rack. The signal from the console was sent to stage via Dante protocol where it was zoned and distributed by Lake LM26s feeding AES signals into the L-Acoustic LA8 amplifiers.
At FOH, Tony Szabo added his usual sonic magic and used a selection of regular tools including Meyer SIM3 combined with Earthworks and Josephson measurement mics and a Lectosonics RF unit.
At the stage end, Alan Harrison was joined by Chris Sharpe from Sound Image and together they looked after the monitor requirements and engineer Eddie Caipo.
FOH engineer Brad Divens stated, "My Avid Profile is loaded with Waves Mercury and SSL Bundles, Soundtoys Decapitator, Cranesong Phoenix and the SPL Transient Designer plug-ins. With only two days of rehearsal before starting the tour I relied heavily on previously recorded multi-tracks via the Avid Native Thunderbolt connected to my Macbook Pro. This in addition to virtual sound check allowed me to dial in snapshots for each song and tweak the mix to sonic perfection in a short amount of time.
The L-Acoustic's K1 combined with Tony Szabo and the rest of the Adlib crew, gave me the consistency that I needed to give Enrique, the band and especially the audience, the very best show that I could deliver."
Their most galvanising task every day was planning 54 channels of RF for monitors, instruments and mics. Alan explains that they have been helped
